WITNESS
by Valentine Michel Smith
Summary: Season One Eppy. Clark helps a young woman in need. Usual disclaimers apply.
1. Witness Part One

FADE IN:  
  
INT. METROPOLIS TOWNHOUSE – NIGHT  
  
A delectable slice of middle-class Americana. Think Martha Stewart with an African twist. Cozy, inhabited - as evidenced by remnants of lives in perpetual motion.  
  
INT. STUDY – METROPOLIS TOWNHOUSE  
  
In the midst of a blizzard of notes sits NORMAN TALBOT, puffing absent-mindedly on a pipe, reading glasses perched dangerously close to the tip of his nose, looking every bit like the scientist and tenured professor that he is. Though he's mellowed with the passing years, his size and bearing provide sporadic indications of the boxer and military man he once was.  
  
Norman scrawls a formula that he revises. He checks the variables with a scientific calculator and makes the requisite adjustments.  
  
Norman's intensity diminishes for an instant as his mind drifts. What if he…? What if he hadn't…? Should he…? Could he…? Maybe, just maybe -   
  
Norman snaps back to reality. At this juncture, "if" and "maybe" were like hope without faith. They weren't worth a damn. More to the point, he knows full well that he can't afford the luxury of dawdling.  
  
Norman exports digital video into iMovie. He ejects the cassette from the camera and smashes it, simultaneously yanking and shredding the magnetic tape.   
  
Hastily, Norman tosses the mangled cassette into the wastebasket. He makes a conscious effort to bury it beneath existing refuse.  
  
Norman pulls up a screen on the computer. In the dim room the glow of phosphorescent numbers glide feverishly over the icy surface of his spectacles.  
  
Norman opens the DVD drive and burns a disk. Though blazingly fast, the process seems to Norman to take forever.  
  
INT. BEDROOM – METROPOLIS TOWNHOUSE  
  
Norman slips the DVD into the pocket of a coat that hangs on a hook behind bedroom door. He pauses, taking in certificates of academic achievement and posters of magicians of old.   
  
Flush with pride, he turns as his daughter JEN enters.  
  
Norman's detached professorial demeanor melts away.  
  
JEN  
(enters)  
Daddy?  
  
Ok, not exactly the nerd we anticipated.  
  
Standing before us is JEN TALBOT, an attractive, reserved, sheltered, ultra feminine high school senior. Clearly a child of privilege. A Petiteau silver locket dangles from her neck. It's an intricate, beautiful piece. A gift from her father.  
  
Habit causes Jen to fiddle with the locket. She's no hair twister – just a locket twirler. Gender appropriate conditioning means in the presence of all men – even her father – Jen's given to flirty behaviors. From all appearances, she's perfected the art.  
  
JEN  
(beat)  
Do you really have to?  
  
Norman turns to his daughter. First, everything a father could ask for. Now psychic too? No, just very in tune with her father. Very much "Daddy's Little Girl."   
  
Norman relishes the thoughts that fill him, thoughts of Jen's first steps and debut. He's damned lucky if in a difficult – correction – _impossible_ position. But what's right is right. You teach by example.   
  
NORMAN  
It's for the best. I'll be working at Cadmus Labs in two days. And the trial's just next week…   
  
NORMAN  
(beat)  
I need you to be strong.  
  
Jen nods, grabs her coat.  
  
NORMAN  
Library?  
  
Jen nods. Where else?  
  
NORMAN  
You're running a little bit behind, aren't you?  
  
JEN  
Just a little bit.  
  
NORMAN  
Home by 10:30.  
  
Like she wouldn't be. Jen nods and smiles. It's part of the ritual.   
  
NORMAN  
I love you, Princess.  
  
JEN  
I love you too, Daddy.  
  
INT. FOYER - METROPOLIS TOWNHOUSE – SHORT TIME LATER  
  
ARLENE TALBOT enters, juggling groceries and a briefcase. A doting mother and striking woman, this no-nonsense professional has been Norman's wife for 25 years. A partially read legal brief dangles precariously from one hand.  
  
ARLENE  
Norm? Jen? Anybody home?  
  
No stranger to the multi-tasking, Arlene gracefully maneuvers all the moving parts onto the foyer's side table.   
  
Arlene fails to notice that she's been followed inside. A shadowy figure reaches out in the darkness.  
  
MADISON  
(whispers)  
Shhhh…  
  
It's not the man but the glint of a 9-mm that catches our attention.  
  
MADISON shepherds Arlene into the study where Norman has resumed work. Thin, angular, almost aquiline in his beauty and dressed in what's probably a $2,000 suit, he looks more like a businessman than a hit man. And oh, does he take pleasure in his work.  
  
INT. BATHROOM - METROPOLIS TOWNHOUSE  
  
Jen stands before the mirror, scrutinizing non-existent flaws.  
  
INT. STUDY - METROPOLIS TOWNHOUSE  
  
Even facing the specter of certain death, Norman's love for his wife does not waver.   
  
He extends his hand. Arlene takes it, squeezes it gently.  
  
MADISON  
You do understand, Doctor,  
(raises gun)  
nothing personal.  
  
To Norman's horror, Madison picks up a seat cushion and nonchalantly fires through it.  
  
MADISON  
Just business.  
  
A spray of upholstery stuffing drifts, lingering in the air.  
  
Hit in the temple, Arlene drops immediately, knocking a lamp from Norman's desk.  
  
With a vicious swipe of his arm, Madison finishes what Arlene unintentionally started.  
  
Norman's computer topples to the ground, exploding into a mound of shattered plastic and useless circuitry.  
  
MADISON  
I do need to get any additional copies of that information though. Anytime tonight, Doc. Sooner's better than later.  
  
INT. BATHROOM - METROPOLIS TOWNHOUSE   
  
Jen reacts to the downstairs' commotion. Though intuition screams "Don't do it!," curiosity nudges "C'mon."   
  
Jen reaches for the middle ground.   
  
INT. HALL – METROPOLIS TOWNHOUSE  
  
Cautiously, Jen pokes her head through the bathroom doorway. She creeps to the edge of the banister.  
  
JEN'S POV  
  
Seat cushion in hand, Madison leads her father into the foyer where her father hands him a CD.   
  
Madison shoots her father. If the previous execution seemed unnaturally slow, this one happens with what feels like cartoon speed.  
  
BACK TO SCENE  
  
Jen stumbles into the bathroom, accidentally knocking an assortment of toiletries onto the marble floor.   
  
INT. FOYER/ BATHROOM/ HALL – METROPOLIS TOWNHOUSE  
  
Caught off guard, Madison reacts.  
  
MADISON  
Yoo hoo…  
(hell bent on destruction)  
Anybody home?  
  
Madison starts up the stairs.   
  
Jen works quickly, opening the window. It doesn't rise more than a few inches.  
  
Clandestinely moving about the bathroom, Jen considers her options.   
  
There are none.  
  
Peeking through the barely open bathroom door, Jen glimpses Madison climbing the stairs. He doesn't seem to be in a hurry. Actually, he seems to take pleasure in what Jen concludes is a snail's pace.  
  
Heart pounding, Jen flattens herself against the bathroom wall and surreptitiously pulls the door toward her. Smalls herself behind it.  
  
From Madison's vantage point, the bathroom appears unoccupied.  
  
Still, Madison enters the bathroom. He makes a quick survey of the area.   
  
Adrenaline surges. Jen's breath wants to come in rapid heaves, and she wants to run. But she doesn't. Somehow, she manages to stand there corpse immobile.  
  
Madison steps out of the bathroom. Starting towards the stairs, he catches Jen's reflection in the mirror.  
  
Jen does not move, let alone breathe.  
  
Jen waits. And hopes.  
  
Madison edges back towards the door.  
  
Jen waits. And prays.  
  
Without warning, Madison flings the door back, pressing Jen into the wall. She cries out, her agonized wail a mix of explosive grief and sheer pain.  
  
Madison snatches her from behind the door and drags her into the hall. He tosses her into the wall.  
  
MADISON  
What is it with kids today?  
  
Madison raises the gun.  
  
MADISON  
Can't even get a simple answer to a simple question…. C'mon, kid, I say "Anybody home?" and you say…  
  
Jen's gaze defies Madison's attempted reading.   
  
MADISON  
Nothing? Emily Post would be appalled. Personally, I blame the Internet. We don't know how to converse anymore.  
  
Madison forces Jen toward the stairs.   
  
MADISON  
(malicious)  
Let's go and join the family.  
  
INT. STAIRWAY/ FOYER – METROPOLIS TOWNHOUSE  
  
Madison pushes her ahead of him. Jen stumbles. A million scenarios play in a heartbeat. Action hero is not her style, but Jen's smart enough to know when her back's up against the wall. Instantly, she seizes the opportunity the gracelessness affords.   
  
Jen bolts.  
  
MADISON  
For crying –   
  
Madison gives chase. He squeezes off a shot and misses – just barely. Plaster, wood and glass explode as -   
  
INT./EXT. FOYER METROPOLIS TOWNHOUSE  
  
- Jen falls through the front door, glass raining down around her as she tumbles down the stairs and onto the street.  
  
Wary of prying eyes, Madison chooses not to take another shot. He appears, a menacing silhouette in the doorway.  
  
EXT. METROPOLIS TOWNHOUSE  
  
Jen sprawls on the sidewalk, the jewel boxed DVD skidding on the pavement in front of her.   
  
Jen doesn't take time to ponder the DVD's significance, making a frantic grab for it and pushing herself up from the pavement in a single move.  
  
Bloodied, Jen runs like her life depends on it.  
  
INT. MALL RESTROOM  
  
Shaking, Jen stands in the middle of the restroom, a surfeit of "fight or flight" biochemical response surging through her body without the benefit of release. She thinks of the line from "The Body Guard."   
  
JEN  
"Your hands ever shake Frank?"  
(as Kevin Costner)  
"Sometimes. It's just adrenaline."  
  
Jen laughs a little, the laughter strained, surreal. Her voice echoes in the empty room.  
  
Jen's suddenly completely silent and incapable of ignoring the reflection that confronts her. The pain of this new, appalling, terrifying reality begins to swallow her.  
  
Distraught but struggling against the emotion, Jen gives herself the once-over.   
  
The debutante we met earlier is nigh unrecognizable.  
  
Jen blinks, shifting gears. She pulls glass from her hair and digs deep, summoning the will that got her through almost twelve years of competitive day schools and far too many cotillions.   
  
She is, after all, her father's daughter.  
  
Jen runs water, takes a towel, and begins very deliberately and methodically to clean herself up, strategizing with each and every gesture.  
  
INT. MALL/ VARIOUS  
  
- Jen grabs jeans, a flannel shirt and a baseball cap. She pays with a platinum card.  
  
- Dressed in the prior purchase, Jen buys an iBook, bag, CD burner, cable – almost forgetting CDRs.  
  
- Jen is seated in a corner booth in a fast food joint, huddled over the iBook. Jen inserts the DVD. iMovie opens, filling the computer screen with her father's likeness.  
  
NORMAN  
(seen on computer screen)  
Jen, if you're watching this, you don't have a lot of time. I've been dealing with someone at the Justice Department...  
(Jen's eyes fill with tears)  
I want you to get in touch with Agent O'Brien. He knows about the problems at LuthorCorp… He's a good man. You can trust him. He'll know what to do.  
  
Jen continues watching as formulas scrawl. She dries her eyes and concentrates.  
  
Without warning, her cell phone rings, its tone impossibly loud.   
  
Jen's snapped away from the screen. Who'd be calling during her "library time"? Her friends very much know better. Unaccustomed to things like ringing phones causing such high levels of angst, she hesitates. Should she answer it?  
  
Although…it could just be a wrong number. It does happen.  
  
INTERCUT INT. CAR/ INT. MALL  
  
Alas, at this moment, a "wrong number" is not a possibility. Madison and a COMPUTER GEEK sit in the back of a town car, staring intently at a laptop screen.  
  
Unsure and unknowing, Jen flicks the phone open, and gazes with anticipation at the screen. Ok, if it's Him (as in Madison), maybe she can use caller id to her advantage.  
  
The cell phone screen glows ominously, reading only "Caller ID UNAVAILABLE." Jen falters, then speaks tentatively into the phone.  
  
JEN  
Hello?  
  
COMPUTER GEEK  
Triangulating…  
  
Graphics form and re-form on the Computer Geek's laptop screen.  
  
Wary, Jen terminates the call. Sensing the need for speed, she scoops up her meager belongings.  
  
COMPUTER GEEK  
(true believer)  
Technology is our friend.  
(beat)  
Got it.  
(turns to Madison)  
Same place as the credit card activity.  
  
INT. MALL  
  
Madison arrives, THUGS #1, #2 and #3 in tow. He gestures, directing the Thugs to spread out.   
  
To her horror, Jen sees not only Madison, but also the three Thugs. As much as she wants to slow down, consider, think this through, she knows this is neither the time nor the place.   
  
Instinctively, Jen hunkers down, pulling the cap deep over her face and moving with a gate that's more bad male drag than anything. Still, the ruse works. Unsuspecting, the Thugs as well as Madison brush by the disguised Jen.  
  
The Computer Geek enters and zeroes in on an intriguing development in the fast food joint. He waves Madison's over.  
  
Madison walks briskly. He stops abruptly. Madison absorbs the scene: Jen's abandoned cell phone and a small heap of scissored plastic that was once a credit card.  
  
EXT. PAY PHONE - MALL  
  
Jen pulls the locket from beneath the flannel shirt. She takes a breath, twists the locket open. Inside: a bright, shiny quarter.  
  
Jen removes the quarter, drops it into the telephone's coin slot, and punches O'Brien's digits, the phone's electronic tones rising like a song of comfort in the night.  
  
Jen inhales deeply, then speaks into the receiver.  
  
JEN  
(on phone)  
Agent O'Brien. My name's Jen. My father said I should call you if something happened.   
(beat; eyes full)  
Something happened.  
  
INT./EXT. CLARK'S LOFT – EARLY MORNING – SOME TIME LATER  
  
Feigning disinterest, Clark watches through the telescope as Whitney helps Lana with a suitcase.   
  
The façade goes the way of the dinosaur, revealing a deep well of longing, regret and sorrow.  
  
MARTHA (O.C.)  
("You're about to be late – again")  
Clark!  
  
Martha's voice disrupts Clark's unmistakably naked emotional indulgence. He hustles out of the loft, grabbing his knapsack.  
  
INT./EXT. SCHOOL BUS  
  
Clark climbs aboard the bus, acknowledging Chloe and Pete. He takes the only available seat near the front, oblivious to Chloe's chagrin.  
  
CHLOE  
(to Pete)  
Ok, why today? Every time, we bet, you bet against your best friend. Today, you don't – and you still win?  
  
PETE  
That's the beauty of statistics. No matter how many times I win, I still have a fifty-fifty shot.   
  
Look at it as a proof positive of the inevitability of the law of averages.  
  
Grudgingly, Chloe offers up a five.  
  
CHLOE  
Statistical fact – your luck won't last forever.  
  
Pete plucks the bill from Chloe's fingertips.  
  
PETE  
No, but I'll take it while it lasts.  
  
INT./ EXT. SMALLVILLE HIGH   
  
To establish.  
  
INT./ EXT. SEDAN  
  
O'BRIEN, a gentle bear of a man, sits behind the wheel, his face betraying paternal concern. A former college football player, he's faced the arrival of middle age head-on in true defensive end fashion, refusing to let the advancing years negatively redefine his physique.   
  
JEN (O.C.)  
I can't sit in that house any more.  
  
O'Brien mentally turns over scenario after scenario. He regards his charge, finally admits to himself there's absolutely nothing he can say. He's been with her since the beginning. He's watched the change, and he knows all too well how headstrong she's become.  
  
O'BRIEN  
(resigned)  
There'll be plain clothed officers inside.   
  
JEN (O.C.)  
(opens door)  
I'll see you tonight.  
  
The car door whines open, then closed. O'Brien watches Jen like a dad dropping his kid off for the first day of kindergarten.   
  
O'Brien sighs, utters a silent prayer and starts the car. He pulls off, whizzing down the street.  
  
INT./EXT. POLICE CRUISER  
  
A CORRUPT Smallville COP observes all that transpires with more than passing interest.  
  
INT. HALLWAY - SMALLVILLE HIGH SCHOOL  
  
An unfamiliar student stands, an island in the ocean of high schoolers.   
  
Eventually, we recognize the "unfamiliar student" as Jen. Her hair's different and the softness that initially seemed so much a part of her has been utterly obliterated.   
  
Though Jen looks ready to fade into the woodwork, there's something about her that makes her seem all too eager to kick ass and take names if the need arises. No, the young woman before us is no longer a princess - unless we're talking princess of the warrior variety.  
  
Jen stands at a locker, spinning the combination dial. She tugs on the locker to no avail.  
  
Jen twists the knob first one way, then another, attempting a few permutations, frustration mounting.   
  
Clark enters. He pauses, accessing the situation. He takes note of her difficulty.  
  
CLARK  
(beat)  
Sometimes, they're a little tricky.  
  
Jen vaguely glances his way and keeps working.  
  
CLARK  
If you'd like, I could help you.  
  
Chloe and Pete enter.  
  
JEN  
(doesn't look up)  
No. I'm straight. I can do it myself.  
  
Clark and Chloe exchange glances. Clark's look: "Well, I tried."   
  
Clark hesitates before yielding to Pete and Chloe's apparently overwhelming desire to get to class.  
  
The trio heads down the hall.  
  
CHLOE  
What's the matter, Clark? Kent charm in failure mode?  
  
Clark turns back to see Jen still struggling with the locker. Pete follows his gaze.  
  
PETE  
Evidently.  
(pokes Clark to get his attention)  
Clark, I'm saying this as a friend – let it go. It's just a locker. She'll get it figured out.  
  
CHLOE  
You can't help everybody, Clark. And yes, there will be people who dislike even you. But you know that, right?  
  
CLARK  
Gee, Chloe, with friends like you two…  
  
CHLOE  
Why would you ever look elsewhere for support, reality checks and scintillating conversation?  
  
INT. SCIENCE CLASSROOM – SMALLVILLE HIGH  
  
The SCIENCE TEACHER scans the attendance sheet. Marks a large, red circle around the name "Quinn Donohue." Then writes boldly – ABSENT.  
  
Jen rushes in, obviously late. No books, lugging her coat.  
  
The Science Teacher makes a grand gesture, changing the word "Absent" to "Tardy."  
  
SCIENCE TEACHER  
(to Jen)  
So glad you could join us, Ms. Donahue.  
(to class)  
If you would open your textbooks to page 37.  
  
QUINN (Jen) takes the only empty seat.  
  
It's next to Clark.   
  
Clark's not one to be a complete jerk, even after someone's been less than friendly. Nah, let's be real - chick was downright rude. Although he does consider it. For about a New York minute.  
  
Clark edges his book over as the lesson begins. Then it happens. Finally. Eye contact.   
  
Jen gives Clark the once-over. She eventually manages a grudging nod of appreciation.   
  
Clark's easy. He'll take that. He smiles shyly.  
  
Chloe nudges Pete.  
  
PETE  
Unbelievable. Didn't he just go down in flames like 10 seconds ago?  
  
CHLOE  
Major crash and burn.  
(how does he do that?)  
But looks like the Kent charm's back online.  
  
INT. GYM – SMALLVILLE HIGH  
  
Pete and Clark gather equipment as their P.E. class winds down.  
  
Clark takes note of the karate club across the way. He spots Quinn, dressed in a gi.  
  
Students scatter. Pete and Clark put away the last of the gear – just in time for Chloe to intercept them.  
  
Chloe glances in the direction of the karate club.  
  
CHLOE  
If I didn't know better, I'd swear that was Lana Lang in disguise.  
  
CLARK  
(watches Jen intently)  
What do you mean?   
  
Chloe, you know Lana's in Metropolis.  
  
CHLOE  
(whatever)  
Yeah, yeah, gift to the organizer of the most successful blood drive in the history of universe.  
  
Pete watches as Jen approaches the drilling with gusto.  
  
PETE  
_That_ is definitely not Lana.  
  
CHLOE  
What I'm trying to say here...  
(moves to block Clark's view)  
…is you haven't taken your eyes off of her.  
  
The height disparity predetermines that Chloe's maneuver will exist solely as an exercise in futility.   
  
In spite of himself, Clark's noticeably amused by Chloe's pathetic attempt at vista alternation.  
  
CHLOE  
Which may mean there's hope for you yet. But I wouldn't look to your new friend.  
  
Pete shoots Chloe a look.  
  
PETE  
What do you mean?  
  
Clark can't explain but he feels drawn to Quinn. It's as though he senses… something. However, he didn't realize he was so public in the display.   
  
Youth is not on his side. Clark sifts through a few expressions before adopting what he deigns an appropriate look of disinterest.  
  
CLARK  
Oh?  
  
CHLOE  
I did some digging.   
  
CLARK  
Oh...  
  
CHLOE  
And this isn't a girl thing.  
  
CLARK  
(amused, but struggling to keep a game face)  
No.  
  
CHLOE  
In spite of my outburst at losing editorship of The Torch, I am generally very –  
  
CLARK  
- un girl-like?  
  
PETE  
It's what we like best about you.  
  
CHLOE  
(sarcastic)  
Now I feel unbelievably special.  
  
CLARK  
You were saying.  
  
CHLOE  
What I was saying was…  
  
The trio glances Jen's way.  
  
CHLOE  
…there's something weird about her.   
Quinn Donahue. Not Wall of Weird weird but –   
  
CLARK  
You know, I was thinking the same thing. It's a little late for a transfer student.  
  
PETE  
(to Clark)  
Hence, the supremely focused eyeballs.  
  
CHLOE  
And since when did we accept transfers without a "student"?   
  
PETE  
Come again?  
  
CHLOE  
Her file, academic record… Empty.  
  
PETE  
How do you –   
  
CHLOE  
- creative computing. It's like she didn't exist – anywhere.  
  
CLARK  
Maybe it's a mistake.  
  
PETE  
(to Chloe)  
How can I put this politely? Weirdar please take a holiday.  
  
CLARK  
Hello. Can you say "right to privacy"?  
  
CHLOE  
Look, I'm just trying to do what Kwan said. Cover news. I thought I could do a profile.  
  
PETE  
But if what you're saying is true, how do you profile a ghost?  
  
END ACT ONE  
  
  
ACT II  
  
INT. GYM - SMALLVILLE HIGH SCHOOL  
  
Chloe, Clark and Pete watch the karate club with elevated regard. The group's begun sparring. Quinn's paired up with a higher ranking KARATE GUY.   
  
Quinn gets the first point. The Karate Guy looks first surprised, then angry. He shakes it off.  
  
CHLOE  
(taps Pete)  
C'mon.   
  
PETE  
Yeah, the Mystery Machine undoubtedly awaits.  
  
Chloe and Pete bound out of the gym. Clark hesitates.  
  
CLARK  
(watching Quinn)  
And maybe some answers.  
  
Clark follows Chloe and Pete.  
  
INT. GYM – LATER  
  
Quinn's sparring partner bows, shakes her hand, signaling the end of the karate club's practice.  
  
KARATE GUY  
Good fight.  
(beat)  
Say, do you wanna grab a cup of coffee?  
  
QUINN  
I shouldn't. I need to get home.  
  
KARATE GUY  
One cup.   
(endearing and enticing)  
One sip?   
(beat)  
C'mon…  
  
Quinn looks into his eyes. They're the most sincere, warm, inviting eyes she's ever seen. And she is still, well, a girl. She'd forgotten how much she missed being appreciated as such.  
  
QUINN  
Okay. Coffee. It is.  
  
KARATE GUY  
I'll meet you outside.  
  
EXT. BEANERY/ ALLEY – NIGHT  
  
Karate Guy and Quinn walk silently, looking like a couple in the awkward initial stages of a first date.  
  
Suddenly, Karate Guy yanks Quinn out of view, forcing her into the dark alley.   
  
KARATE GUY  
You know, you made me look bad today.  
  
QUINN  
What're you talking about?  
  
KARATE GUY  
While we were sparring. You got the first point.  
  
QUINN  
So?  
  
KARATE GUY  
I outrank you. And you're a girl.  
  
INT. BEANERY – NIGHT  
  
Clark, Chloe and Pete gather around a table.  
  
CHLOE  
I can't believe we came up empty. I mean, this in the Information Age.  
  
PETE  
Maybe you're looking for the wrong thing.  
  
CLARK  
And in the wrong place.  
  
CHLOE  
I don't see how…  
  
Chloe's voice trails off as Clark starts to hear snatches of other Beanery conversations.   
  
Clark hones in on something disturbing – the ruckus caused by Quinn and Karate Guy in the alley.  
  
Clark rises swiftly.  
  
CHLOE  
Clark?  
  
CLARK  
I… I forgot to put money in the meter.  
  
PETE  
(Clark's already gone)  
It's after six.  
  
EXT. BEANERY/ ALLEY – NIGHT  
  
Offscreen, trashcans clatter.   
  
Clark rushes toward the alley and stops short.   
  
CLARK'S POV  
  
Quinn, trashcan lid in hand, Karate Guy face-first in a pile of garbage.  
  
BACK TO SCENE  
  
It takes Clark a moment to absorb what he's seeing.   
  
Clark collects himself, hurries over to Quinn.   
  
Clark touches Quinn gingerly.  
  
QUINN  
(stepping away; out of control)  
Get off me!  
  
Her fierceness takes him aback, albeit only briefly.   
  
CLARK  
(snap out of it!)  
Quinn! Quinn, look at me.  
  
Clark notices Quinn's shirt is slightly ripped.   
  
CLARK  
(gently)  
Are you all right?  
  
Quinn doesn't answer.  
  
A long, uncomfortable silence.  
  
Demons temporarily exorcised, Quinn's posture changes. She frisbees the trashcan lid to Clark.   
  
After determining that Quinn's attacker is all right (wounded pride not withstanding), Clark relaxes. Seeing the humor in the situation, he deposits the trashcan lid on the ground beside Karate Guy.  
  
Quinn heads out of the alley, Clark on her heels. In the b.g., the Karate Guy struggles up.  
  
QUINN  
(too composed)  
Thanks for the attempted rescue. Really, I'm fine. And don't worry about him. He got what was coming. Things should always be that simple.  
  
A vestige of Jen asserts itself. In that moment, Quinn appears vulnerable, shaken.   
  
CLARK  
Do you want to come in, maybe sit down for a minute?   
  
Good Lord, what's it take to get through the wall?   
  
CLARK  
(anticipating Quinn's reluctance)  
Or not.  
  
Quinn looks to Clark. She isn't sure why – but she trusts him completely.  
  
QUINN  
(beat; quietly)  
Sure.  
  
INT. BEANERY – NIGHT  
  
Chloe gasps but Clark intervenes silently before she can launch into a full blown "omigod what happened to you" spiel.  
  
Pete takes his cue from Clark and Chloe. Though there's certainly no hiding something happened outside, the two try valiantly to ignore Quinn's appearance.  
  
Clark gestures, excusing himself.  
  
CLARK  
(an introduction; heads to counter)  
Chloe, Pete…  
  
QUINN  
Quinn.  
  
In the b.g., we see Clark ordering a mug of hot chocolate. It's piled high with whipped cream.   
  
Clark brings the chocolate to the table, sets it in front of Quinn.  
  
CLARK  
I wasn't sure if... Hot chocolate seemed like the better –   
  
CHLOE  
- So, Quinn…   
  
Quinn acknowledges Clark's thoughtfulness with a sip. She wipes whipped cream from her lip and for a moment, almost manages to forget.  
  
At least until –  
  
CHLOE  
What brings you to Smallville?  
  
Quinn goes positively rigid.  
  
PETE  
(acknowledging Quinn's discomfort)  
You'll have to excuse our intrepid girl reporter… She's seen one too many episodes of "America's Most Wanted."  
  
Clark shares Chloe's curiosity, but perhaps because he knows all too well about secrets, that sometimes they need to be kept, and that sometimes, they reveal themselves that he's willing to be patient. However, although he knows it's just her style, even he's uncomfortable with Chloe's conversational ambush.   
  
QUINN  
You know… It's… Uh… I'm... I gotta go. Home.   
  
I'm sure Matt's worried about me.  
  
CHLOE  
(fishing)  
Your father?  
  
PETE  
(please no)  
Your boyfriend?  
  
Quinn waits for Clark to weigh in. He doesn't.  
  
Absent mindedly, Quinn strokes a small scar.  
  
QUINN  
My…guardian. My parents… My parents are…dead.  
  
It's as though all sound's been sucked from the room as the conversation comes to an unqualified, screeching halt. Quinn is not in the mood. Hang out, have a cup of cocoa like a normal kid. Plu-eeeze. What was she thinking?  
  
Quinn exits abruptly.  
  
Clark watches as Quinn walks past the Beanery window. He can't help but do a quick check with his x-ray vision.   
  
Not that it's all that improbable, but given everything that's happened in Smallville, this was not the outcome Clark had anticipated.   
  
Clark's completely floored by the lack of meteor rock contamination. He's now proven to himself that Quinn's just a regular girl on an obviously rocky road to womanhood. Ah, common ground. Except for the "womanhood" part.  
  
Pete and Clark turn to Chloe, disbelief thick in their features.  
  
CHLOE  
What?  
  
INT. SAFE HOUSE  
  
O'Brien looks like the concerned parent he's in effect become. He glances at the clock. Quinn's way overdue.  
  
Quinn slips through the front door quietly. She doesn't expect Matt to still be up. But there he is.  
  
MATT  
You should've called.   
(angry)  
We let you –  
  
Although Matt's anger is displaced, Quinn doesn't read it as such. She takes the hostile tone at face value and responds with equal vehemence.  
  
QUINN  
- have a life? A life is people who care about you.  
(exits)  
I got no life.  
  
INT. SAFE HOUSE – LATER  
  
Quinn's clad in an oversized bathrobe. She's had some time to reconsider and recontextualize the twin outbursts.  
  
QUINN  
(beat)  
Sorry about before. You've been with me from the beginning… And in the beginning, I didn't mind… Wait it out… But O'Brien, I'm hiding out as a freshman in the middle of nowhere.   
  
A shared moment of connection, empathy.  
  
MATT  
(softly)  
Jen, you got to live to testify.  
  
QUINN  
(facetious)  
Your job.   
  
I'll do what I can but I won't sit still.  
  
Matt bites his tongue. He knows the drill. He also knows he shouldn't be this emotionally involved, but… Matt shifts back to professional mode. Professional with the patented O'Brien sense of humor.  
  
MATT  
(beat)  
Moving's good. Makes you a harder target.  
  
QUINN  
Goodnight, Matt.  
  
MATT  
Goodnight, Jen.  
  
INT. KITCHEN - KENT FARM – DAY  
  
In the b.g., Jonathan struggles with a pickle jar. Instinctively, Clark reaches for it.  
  
MARTHA  
(takes pickle jar from Jonathan)  
Clark, you've been awfully quiet about school.  
  
JONATHAN  
(as Martha runs hot water over the pickle jar lid)  
Yeah, son. What's going on?  
  
CLARK  
(beat)  
There's a transfer student. I don't think she likes me very much. I don't think she likes anybody.  
  
JONATHAN  
Well, how do you know?  
  
CLARK  
She basically told me to drop dead.  
  
JONATHAN  
That would do it.  
  
MARTHA  
(twists the pickle jar lid – it now pops open easily)  
Clark, I find that hard to believe.  
  
CLARK  
Not in so many words.   
  
Martha offers Jonathan the jar. He pauses, selects a pickle.  
  
JONATHAN  
(Clark hands him a fork)  
Doing a little reading between the lines?  
  
Jonathan puts several pickles on a plate. He offers the plate to Martha, who declines, and Clark, who gratefully accepts.  
  
CLARK  
(eats pickle)  
I was actually making some headway.  
  
Then Chloe shifted into tabloid reporter mode…  
  
CLARK  
I just offered to help her with her locker. Then there was the karate club guy.  
  
JONATHAN  
Karate club?  
  
CLARK  
By the time I got there, she'd handled it.   
  
MARTHA  
So nobody saw you –   
  
CLARK   
- didn't have to.  
  
Martha and Jonathan exchange a look.  
  
MARTHA  
It was very kind of you to offer to help with the locker – but not everybody knows how to respond to kindness.  
  
JONATHAN  
And not everybody's going to like you.  
  
CLARK  
I'm not asking her to fall in love with me or anything.  
  
MARTHA  
Wait. Did you say she was a transfer student? Isn't it a little late in the year for that?  
  
CLARK  
That's what I thought. And Chloe thought. By the way, Chloe said the same thing you did about not being liked.  
  
MARTHA  
(jokes)  
So much for the wisdom of age.  
  
  
JONATHAN  
It's a fact of life, son. Everybody can't be your friend.   
  
No matter how hard you try, you're going to pick up enemies along the way. Sometimes, for no other reason than being who you are.  
  
CLARK  
(only half-kidding)  
Sort of like you and Lex?  
(beat)  
What about if I was somebody else?  
  
MARTHA  
Wouldn't make a wit of difference. It's definitely one of our failings as human beings.  
(beat)  
Clark, you don't think this has anything to do with –   
  
CLARK  
- No, definitely not. I can't explain it exactly, but I think she's in trouble.  
  
MARTHA  
(sees the absolute possibility)  
It is Smallville.  
  
JONATHAN  
She's in high school, son. How much trouble can she be in?  
  
Clark wonders. It being Smallville, the mind boggles at the possibilities.


	2. Witness Part Two

ACT III  
  
EXT. DOWNTOWN METROPOLIS - DAY  
  
Madison speaks to Thugs #1 and #2.  
  
MADISON  
Tick, tick goes the clock. Tell me you're getting closer.  
  
THUG #1  
We were getting closer.  
  
MADISON  
Tick, tick, tick…  
  
THUG #2  
We got some leads.  
  
MADISON  
TICK, TICK, TICK.  
(beat)  
I can't believe you can't find one little girl.  
  
THUG #1  
It's a big country.  
  
MADISON  
But a small world. Find her. Not tomorrow. Today.  
  
TICK, TICK.  
  
INT. SMALLVILLE HIGH SCHOOL   
  
Déjà vu all over again.  
  
Quinn's at the locker, fighting the good fight.  
  
QUINN  
(as Clark passes)  
I hear sometimes,   
(Clark stops)  
they can be a little tricky.  
  
QUINN  
(she steps aside)  
Think you can get it open?  
  
Clark beams.  
  
CLARK  
I can try. I've had very good luck with lockers.  
  
This one's actually stuck. But call it Kent charm – or Kryptonian persuasion - that causes the locker to relent.   
  
Out of Quinn's view, Clark bends back the metal tab he's practically torn off, fixing it with ease. He steps back, affording her access.  
  
QUINN  
(impressed)  
Nice hands.  
  
Clark goes near crimson.  
  
Chloe and Pete enter. They exchange looks.  
  
QUINN  
(no mystery)  
I asked. He helped.  
  
CHLOE  
That's our Clark. Always at the ready to help a damsel in distress.  
  
PETE  
Let's forgo the gender bias. Clark is equal opportunity. Just ask Whitney. Or Lex.  
  
CHLOE  
Or you.  
  
PETE  
The situation was under control.  
  
CHLOE  
Yeah, but you were unconscious.  
  
PETE  
(your point is?)  
And?  
  
CLARK  
(okay, time to break it up; to Quinn)  
Science?  
  
QUINN  
Yeah.  
  
CLARK  
C'mon. If you don't mind hanging with the unpopular crowd.  
  
QUINN  
I'm new. Like I got options.  
  
EXT. SMALLVILLE HIGH SCHOOL  
  
The Corrupt Cop hands a photo to Thugs #1 and #2. He speaks quietly.  
  
CORRUPT COP  
Yeah, I've seen her. She's staying over on Orchard with some suit. And she goes to Smallville High.  
  
Thug #1 hands the Officer an envelope.  
  
THUG #1  
We appreciate your assistance.  
  
The Officer counts the cash.  
  
CORRUPT COP  
I appreciate your accuracy.  
  
THUG #2  
We'll be in touch.  
  
The Cop drives off.  
  
THUG #2  
Home or school?  
  
Thug #1 glances toward the school.  
  
THUG #1  
I love the smell of Clearisil in the morning.   
  
INT. SCIENCE CLASSROOM – SMALLVILLE HIGH SCHOOL  
  
A yearbook-picture version of détente on the part of Clark and Quinn.   
  
Chloe and Pete look on. Suddenly, Chloe's eyes brighten as inspiration hits.  
  
No one notices Quinn slip the jewel boxed DVD into Clark's knapsack.  
  
INT. TORCH OFFICE  
  
Pete enters. Chloe's seated at the computer, laser focused on her current task.   
  
PETE  
Chloe, you have that look.  
  
CHLOE  
(concentrates intensely)  
What look?  
  
PETE  
The "I'm on a mission and must not fail" look.  
  
CHLOE  
(beams)  
And fail I have not.  
  
Take a look at this.  
  
Clark enters.  
  
CLARK  
(what's going on?)  
Uh, guys?  
  
CHLOE  
I think we may have an answer.  
  
CLARK  
(disbelieving)  
A conspiracy website.  
  
CHLOE  
All the news that's not fit to print. If you're interested in maintaining corporate interests.  
  
CLARK  
(reads)  
"Former LuthorCorp Employee Gunned Down in Metropolis Home. Scientist Norman Talbot and his wife Arlene were found dead, shot execution style."  
  
PETE  
"Surviving daughter MIA."  
(beat)  
You don't think –   
  
CHLOE  
Quinn's Talbot's daughter… It says here Talbot was about to testify in front of a federal grand jury… Maybe they WPP'd her.  
  
Witness Protection Program.  
  
CLARK  
But why put her here in Smallville?  
  
PETE  
Yeah, it's a little close to Metropolis. Wouldn't this be the first place they'd look?  
  
CHLOE  
Maybe it was. And she wasn't here. She just got here.  
  
CLARK  
Who's to say she hasn't been moving around the whole time?  
  
PETE  
That would not be fun.  
  
CHLOE  
Not fun? Try the ultimate buzz kill. Unless she's part gypsy.  
  
CLARK  
No wonder she was so…  
  
CHLOE  
Antisocial?  
  
PETE  
Can you blame her? She's probably being hunted by a killer as we speak.   
(it dawns on him)  
In which case, she's handling it remarkably well.  
  
CHLOE  
What can we do?  
  
CLARK  
Keep our eyes open. Stick close.  
  
PETE  
(to Chloe)  
And you might want to apologize.  
  
CHLOE  
(weakly)  
It wasn't intentional. At least, I don't think it was intentional.  
(beat)  
I was kinda mean, wasn't I?  
  
Clark and Pete look to each other and then wordlessly to Chloe as if to say "Duh."  
  
EXT. SMALLVILLE HIGH SCHOOL  
  
Thugs #1 and #2 watch as kids spill from the building. They're joined by THUG #3.  
  
THUG #3  
There!  
  
Quinn exits the school and rounds the corner. The car follows.  
  
Quinn turns, horribly aware she's not alone. She ducks off the main street.  
  
THUG #1  
She's not going to make this easy.  
  
The car follows. Stops. Quinn looks around for options. There aren't many – not unless she can get by the trio.  
  
THUG #1  
Remember, he doesn't want her dead. At least not yet.  
  
THUG #2  
C'mon, Jen. We don't want to hurt you.   
  
THUG #3  
(sing-song)  
Unless we have to.  
  
QUINN  
(softly)  
Bring it.  
  
Thug #3 dives for her. Quinn slides over the car, knocking Thug #2 into a brick wall.   
  
THUG #3  
Oh, you got skills…  
  
Quinn motions a la Bruce Lee. Thug #3 charges. Clearly not a quick study. Quinn uses his momentum against him.  
  
Two down.  
  
Quinn spins in time to see Thug #1, coming toward her. She doesn't notice he's holding something behind him.  
  
Instantly, he's on top of her, handkerchief over her mouth. It doesn't take long for the chloroform to kick in.   
  
Quinn goes limp.  
  
THUG #1  
(how could they let her best them?)  
"Idiots." Plural of "idiot." Open Webster's – see a picture of the two of you!  
  
Thugs #2 and #3 struggle up.   
  
THUG #1  
(disgusted)  
Put her in the car.  
  
Clark, Chloe and Pete exit the school in time to see the car speed away.  
  
CHLOE  
Since when are fire trucks not trucks?  
  
Clark steels his eyes on the vehicle. X-ray vision reveals an unconscious form in the back seat.  
  
CLARK  
I think somebody just kidnapped Quinn.   
(hands his knapsack to Pete)  
Call my dad… Call the police.  
  
PETE  
And tell them what?  
  
CLARK  
The truth.  
  
PETE  
(to Chloe)  
You may want to leave certain details to the imagination.  
  
Clark runs off.  
  
CLARK  
I'll try to get the license plate.  
  
Chloe notices red dirt tire tracks. She breaks out the digital camera and takes a photo.  
  
CHLOE  
I think I know where they're going.  
(motions to Pete)  
C'mon.  
  
Pete and Chloe head back into the school.   
  
EXT. FIELD   
  
Out of view, Clark turns up the gas. "Speeding," he traces a path parallel to the car.  
  
INT. CAR  
  
Thugs #1 and #2 appear to be daydreaming. Thug #1's look: good help is so hard to find.  
  
THUG #1  
(too polite)  
Excuse me.  
(Thugs #1 and #2 turn)  
Not to interrupt this clearly reflective moment… But I was wondering… Who's hauling the package?  
  
Thugs #2 and #3 look at each other.  
  
THUG #2  
Rock, paper, scissors?  
  
They do (rock, paper, scissors). Thug #3 loses. He rolls his eyes as Thug #2 gloats.  
  
THUG #3  
Got her.  
  
Thug #1 just shakes his head.  
  
INT. TORCH OFFICE  
  
Chloe sits in front of the computer as Pete watches anxiously.  
  
CHLOE  
(reads)  
Network inaccessible.  
  
PETE  
(reads)  
System down for maintenance.  
  
CHLOE  
Oh, this is not the time.   
  
PETE  
What's that mean?  
  
CHLOE  
It means I can't get online. Our network servers are unreachable. So much for MapQuest.  
  
PETE  
Plan B?  
  
CHLOE  
Would require an analog line.  
  
PETE  
Do we have one?  
  
CHLOE  
Not here.   
  
PETE  
So now what?  
  
CHLOE  
We could either waste a bunch of time going to my house and trying to do the research on a dial-up modem… Or we could just call Mr. Kent and hope between him and the police, somebody knows where the abandoned Ames farm is.  
  
PETE  
Ames farm?  
  
CHLOE  
Former planned site of LuthorCorp Fertilizer Plant Number gazillion.  
  
PETE  
Do you now where it is?  
  
CHLOE  
Ninguna idea. All I know is it's somewhere by a mega meteor strike. I just not sure which one.  
  
PETE  
I vote we call Mr. Kent.  
  
CHLOE  
(cell phone in hand)  
Dialing as we speak.  
  
INT. ABANDONED FARM  
  
Quinn's tied to a chair. She moans, coming around. Thug #1 blindfolds her.  
  
QUINN  
Little late for the blindfold. I know what you look like.  
  
THUG #1  
I prefer it. If you don't mind. Rhetorical question.  
  
Don't worry, princess. We just need to keep you here a couple of days.  
  
QUINN  
And then what?  
  
THUG #1  
If I'm not mistaken, you die.  
  
QUINN  
I thought you didn't want to hurt me.  
  
THUG #1  
I don't.   
  
QUINN  
(cold)  
Why wait?  
  
THUG #1  
Orders is orders.  
  
QUINN  
(dots connected)  
Madison.  
  
A tiny gesture of acknowledgement.  
  
THUG #1  
(gags Quinn)  
On an abandoned farm, no one can hear you scream  
(cruelty evident in the action)  
but…  
  
EXT. ABANDONED FARM  
  
Clark knocks on the front door, then zips around to the back of the house.  
  
Thug #2 opens the door, gun drawn.  
  
EXT. REAR ABANDONED FARM  
  
Clark pops the back door open. The wood frame yields, splintering.  
  
INT. ABANDONED FARM  
  
Clark steps inside, stealth the main objective. Not braced, he meets the full force of Thug #3's body weight and slams hard into the wall, leaving a Clark shaped indentation.  
  
Clark pulls himself from the wall as Thug #3 launches himself at him a second time. Quinn, hearing the ruckus but unable to see, hops the chair out of the way, barely in time. She struggles mightily against the ropes as Clark allows momentum to take Thug #3 and himself down.  
  
Thug #3 atop Clark, Thug #2 approaches. Clark pushes Thug #2 as he grabs for Clark, sending the bad guy high into the air. He lands dangerously close to Quinn who reacts, spinning the chair this time as she tries to get a sense of what the hell's going on. The chair catches on Thug #2, sending Quinn toppling over him and onto the floor.  
  
Clark flip/tosses Thug #3 into the air, hurling him across the room and through the door, just barely missing Quinn who's trying to rock the chair up, over, something.  
  
The chair's old, it's wood, it breaks, releasing the ropes. Quinn seizes the opportunity, extricating herself.   
  
Quinn feels someone behind her. Removing the gag and blindfold. Her first look's at the scene before her. Her face: Geez, what happened? She turns. Clark's standing in behind her. She's puzzled and speechless but glad it's him. And not wanting to hang around.  
  
Clark offers his hand. She takes it.   
  
EXT. FRONT ABANDONED FARMHOUSE  
  
Clark and Quinn flee the house.  
  
Clark sees the sedan in the yard and gets an idea. He motions to the sedan. He and Quinn run for it.   
  
QUINN  
(peers through the window)  
Keys are inside.  
(tries door)  
But the door's locked.  
  
Quinn shifts her focus away from the vehicle, giving Clark enough time to smash the window with his arm. Then, a blur of motion as Clark grabs a rock just as –  
  
- Quinn looks up. She sees -   
  
- Clark, rock in hand.   
  
Clark tosses the rock aside, quietly savoring his cleverness.  
  
INT./EXT. SEDAN  
  
Clark and Quinn climb into the car. Clark starts it.   
  
The trio of Thugs walk purposefully toward the vehicle.  
  
Clark's suddenly focused on the raised barrel of Thug #3's gun as he raises it and fires.  
  
CLARK  
Get down!  
  
Quinn ducks.  
  
Clark puts the car in gear.  
  
The Thug #3 fires again.  
  
Convinced Quinn can't see what he's doing -  
  
- Clark catches one, two, three bullets, plucking them gently from the air.   
  
- Deposits the bullets softly onto the vehicle floor.  
  
Clark floors it. The car speeds off, spitting dust as the Thugs look on helplessly.   
  
To add insult to injury, the police descend en masse.   
  
END ACT III  
  
  
ACT IV  
  
EXT. KENT FARM - NIGHT  
  
Knapsack in hand, Martha and Jonathan run out to meet Clark.  
  
Clark and Quinn exit the vehicle.  
  
MARTHA  
Chloe called.   
(hands Clark knapsack)  
We were worried sick.   
  
JONATHAN  
(re: car)  
Nice ride. Assuming you ignore the bullet holes.  
(beat)  
What happened?  
  
CLARK  
Nothing really. A little kidnapping, a little shooting...  
  
MARTHA  
Is this…?  
  
QUINN  
Trouble?  
  
CLARK  
Her name's Quinn.  
  
QUINN  
Actually, I used to be Jen Talbot…   
(beat)  
But that was a lifetime ago.  
  
Martha surveys the area. Jonathan follows her gaze.  
  
MARTHA  
We might want to move this conversation inside.  
  
JONATHAN  
Good idea.  
  
INT. KITCHEN - KENT FARM  
  
JONATHAN  
I think I understand this situation in the abstract…  
  
MARTHA  
…But we were wondering  
  
JONATHAN  
If you might be able to fill in some of the details… Who knew you were in Smallville?  
  
QUINN  
The FBI – and only a handful of agents – like O'Brien. My "guardian." But they generally let local law enforcement know.  
  
JONATHAN  
There may be a leak.  
  
MARTHA  
Somebody in the Smallville Police Department?  
  
Jonathan nods.  
  
JONATHAN  
Which means they probably already know you're not where you're supposed to be.  
  
CLARK  
Which also means we can't go to the Smallville police with this. You have what – two days until you have to testify and deliver the DVD?  
  
It's the safest place in town. They'd never look here.  
  
I'll even give up my room.  
  
Quinn considers.  
  
EXT. SAFE HOUSE  
  
The Corrupt Cop waits impatiently inside his squad car.  
  
INT. SAFE HOUSE  
  
Madison, paces, speaking to someone off-camera.   
  
MADISON  
You know it's really too bad you couldn't tell me what I needed to know. I was working on a little quid pro quo…you scratch my back, I don't kill you –   
  
Apparently, the "conversation" was in truth a soliloquy.  
  
Madison steps over O'Brien's lifeless form.  
  
MADISON  
Oh well.  
  
EXT. SAFE HOUSE  
  
CORRUPT COP  
Did you get anything?  
  
MADISON  
Other than the inevitable adrenaline rush that comes with doing my job well and liking what I do? No.  
  
CORRUPT COP  
My sources are drier than a cornfield in a drought. The only thing I've heard is something about the Kents' kid.  
  
MADISON  
The Kents?  
  
CORRUPT COP  
Jonathan and Martha. They have a farm on the other side of town, grow organic produce.  
  
MADISON  
How very p.c.  
  
CORRUPT COP  
Son's name is Clark. He and the girl had some classes together. I also spotted them a few days back in town at the Beanery.  
  
MADISON  
Oh?  
  
Madison reaches inside his coat. It's clear the Corrupt Cop is expecting another payoff.  
  
CORRUPT COP  
Let me tell you, this is coming none too soon. My old lady –  
  
Madison leans into the car. We hear a small POP. We don't think too much of it at first. We still don't think very much of it as Madison exits. The Corrupt Cop suddenly falls forward. He slumps over the cruiser's wheel, a trickle of blood running from his ear.  
  
INT. CLARK'S ROOM - KENT FARM – LATER  
  
Quinn's asleep in Clark's bed, wearing one of his flannel shirts and a pair of sweat pants. She shifts, opens her eyes slightly.  
  
Clark's crouched by the bed, watching her intently.  
  
QUINN  
Clark? Tell me you haven't been there all night.  
  
CLARK  
I could say that…  
  
QUINN  
You don't have to –   
(beat)  
Nobody knows I'm here.  
  
You've already gone way above and beyond… Just when I thought the world was all wrong… Bad things happen to good people, nothing happens to the bad ones.  
  
Uh, oh, I feel a perspective shift coming on.  
(joking)  
Damn you. Now get out. Go to sleep.  
  
INT. HALL/ STAIRWAY – KENT FARM  
  
Clark smiles and heads out of the room.   
  
Clark goes downstairs and tries to get comfortable on the couch.  
  
INT./ EXT. KENT FARMHOUSE – LATER  
  
Effortlessly, Madison picks the lock on the back door. He smiles, underwhelmed by the lack of challenge. Gotta love the small town life.  
  
Madison makes his way through the house on little cat feet.   
  
INT. STAIRWAY – KENT FARM  
  
Madison heads up the stairs.  
  
INT. JONATHAN & MARTHA'S BEDROOM  
  
Jonathan awakens with the barrel of Madison's gun in his face.   
  
Madison puts his finger to his lip and motions to Jonathan to wake Martha. Jonathan does so, calming her wordlessly.  
  
MADISON  
Where is she?  
  
Jonathan leads as Madison holds Martha close.  
  
INT. CLARK'S ROOM  
  
Quinn wakes up.  
  
QUINN  
(drowsy)  
Clark, I told you –  
  
MADISON  
Your boyfriend isn't here.   
(waves gun to indicate)  
It's just me and Mom and Dad.  
  
Oops, but not your Mom and Dad.  
  
You know what I want. You give it to me, and we can all just walk away.  
  
Quinn regards him stonily, then:  
  
QUINN  
(there's no way she looks that dumb)  
Right.  
(beat)  
Don't hurt them. Just don't hurt them. They got nothing to do with this.  
  
Quinn rises and in a series of moves that can only be described as near balletic –   
  
- Pulls a CD from under a book on the dresser.  
  
- Tosses the CD across the room at Madison.   
  
- Dives through Clark's bedroom window.  
  
INT. LIVING ROOM – KENT FARM  
  
The crash jolts Clark awake. He speeds upstairs where he sees –  
  
INT. CLARK'S ROOM – KENT FARM  
  
- Madison standing by the window.  
  
MADISON'S POV  
  
Quinn rolls down the roof and dangles.  
  
BACK TO SCENE  
  
Madison turns, gun leveled. Clark starts for him, but is stopped by Jonathan.  
  
MADISON  
Smart boy.  
  
Madison heads out of the room.  
  
Martha exhales. Jonathan's visibly relieved. Clark isn't quite sure how to respond.  
  
EXT. KENT FARMHOUSE  
  
Quinn jumps. She plucks herself from the ground to in time to see Madison -  
  
MADISON  
(tosses CD; it lands at her feet)  
Nice try. Remy Zero...  
  
- and Clark suddenly standing between them.  
  
CLARK  
I'm not going to let you hurt her.  
  
MADISON  
I don't want to hurt her. I want to see her dead.  
  
QUINN  
Clark, please. Go back into the house.  
  
CLARK  
(quietly)  
Quinn, the man has a gun.  
  
QUINN  
And what are you going to do?  
(beat)  
You have people who love you – and I've got nothing to lose.  
  
Quinn sidesteps Clark, simultaneously stepping hard on the grass. A pitchfork handle rises from the ground like magic from the grass.   
  
It's not "superspeed," but it's fast and nicely executed. Quinn twirls the pitchfork, and with a WHOOSH, knocks the gun from Madison's hand.  
  
Quinn twirls the makeshift bo again. The wooden handle SWOOSHES through the air with power and inexorableness.   
  
Quinn taunts Madison with the fork edge.   
  
Madison goes to reach for the gun, then suddenly launches himself at Quinn.  
  
Quinn twirls the pitchfork and swings for the cheap seats.   
  
Every ounce of hatred, fear and guilt is focused in a nanosecond.   
  
Quinn connects – and how. The force of the impact lifts Madison off of the ground. He lands hard.  
  
Quinn turns away. She doesn't notice Madison reach for the gun. But Clark does.   
  
QUINN  
(Clark grabs the gun, tosses it far, and pushes Madison's head to the ground, rendering him unconscious)  
When you got nothing to lose, it frees you up.  
  
Quinn looks to Clark who's standing right by her. She tosses Clark the pitchfork. She walks blithely over to a bale of hay, digs around.  
  
Clark watches her with respect – and amazement. There's a lightness to Quinn that we haven't seen since that moment with her father.  
  
Curious, Clark steels his eyes and zeroes in on the object of Quinn's hay hunt - the jewel box with the DVD.   
  
CLARK  
A little to the right.  
  
Quizzical expression donned, Quinn turns to Clark.   
  
CLARK  
(covering)  
Maybe?  
  
Quinn turns back to the hay and, what do you know, extracts the DVD.  
  
Martha and Jonathan appear and take note of the unconscious Madison. They exchange glances with Clark who gestures "it's all good."  
  
The sun appears on the horizon. Distracted, Quinn pauses, and finds in spite of everything – or perhaps because of everything –she's still capable of savoring the simple beauty of a sunrise.  
  
The DVD incident is temporarily back-burnered as Quinn turns to the Kents.  
  
QUINN  
Are you hungry? I am ravenous.   
  
JONATHAN  
(re: Madison)  
I'll call Harlan.  
  
QUINN  
I could make some waffles. I haven't had waffles in a long time.  
  
Quinn heads back to the house. Martha and Jonathan follow.  
  
QUINN  
Mrs. Kent, do you like waffles?   
  
MARTHA  
Waffles sound great.  
  
QUINN  
Mr. Kent?  
  
JONATHAN  
Color me a former pancake man.  
  
Clark regards Madison. Sure Quinn is out of view, he's off like a shot, returning instantly with rope.   
  
Madison's secured to the porch roof support in a blink.  
  
Quinn pokes her head out the window just as Clark finishes the last knot.   
  
QUINN  
(can't see what he's really up to)  
Clark? What're you doing?  
  
CLARK  
(not exactly a lie)  
Tying up some loose ends.  
  
The explanation works for Quinn.  
  
QUINN  
Tell me you're a waffle man.  
  
Like father like son. And equally as unflappable in his conviction.  
  
CLARK  
(now he is)  
I'm a waffle man.  
  
EXT. METROPOLIS CEMETARY – DAY  
  
Chloe, Pete and Clark stand in the b.g., watching patiently as Quinn visits her parents' gravesite.   
  
A few FBI TYPES hover almost beyond view.  
  
The quartet walks across the cemetery. Quinn searches for O'Brien's plot, finds it and places a flower.  
  
INT. HALLWAY – METROPOLIS COURTHOUSE  
  
Quinn's wardrobe reveals a young woman somewhere between what was and what will be. She wears the Petiteau locket.  
  
CLARK  
Quinn,  
(takes locket in hand)  
that's beautiful.  
  
Clark realizes the forwardness of the action. He draws his hand back abruptly. Quinn soothes him with her words.  
  
QUINN  
(it's okay)  
My father gave it to me.   
(beat)  
You probably think I'm one egg short of a dozen. Living in the past…  
  
CLARK  
I've actually said sometimes you have to let go of the past to move forward… But that's –   
  
QUINN  
- my heritage.   
(recites)  
"A professional and entrepreneurial class known as the bourgeoisie emerged in 19th Century France effecting a transformation of the social classes that was equaled only by the dramatic physical changes in Paris itself."  
  
The locket's based on an original drawing from a French jewelry house.  
(unapologetic)  
I am my father's daughter. He never wanted me to forget where we came from and where we were going.  
  
Corny, huh?  
  
CLARK  
(considers)  
No. No, I don't think it's "corny" at all.  
  
INT. COURTROOM - METROPOLIS COURTHOUSE  
  
Clark, Jonathan, Martha, Pete and Chloe sit in the gallery.  
  
PETE  
I can't believe all this's coming out about Level 3.  
  
CHLOE  
I'd like to see Lionel Luther try to spin Grand Jury testimony.  
  
BAILIFF  
Do you swear to tell the truth, the whole truth, and nothing but the truth so help you God?  
  
QUINN  
I do.  
  
Quinn testifies.  
  
DISSOLVE TO:  
  
Quinn hands the Bailiff the DVD.   
  
DISSOLVE TO:  
  
INT. HALLWAY – METROPOLIS COURTHOUSE  
  
Quinn stands, clearly among friends. Lex appears.  
  
LEX  
Quinn Donahue…   
(extends hand)  
Lex Luthor.  
(Quinn ignores it; Lex withdraws his hand)  
Yes, I do suffer by comparison. All I can say is I'm not my father. Just ask Clark.  
  
I have the deepest sympathy for your loss.  
  
I understand you're on her way to being a top scientist at Cadmus Labs.  
(how?)  
I know people.   
(beat)  
Undoubtedly in the genes.   
(eyes Lex-Luthor-twinkle bright)  
Unless you decide to become an ultimate fighter.   
  
I wish you all the best.  
  
Lex exits.   
  
JONATHAN  
Did we miss something?  
  
MARTHA  
Apparently.  
  
CHLOE  
(to Quinn)  
What's up next?  
  
QUINN  
Now that Madison's out of the picture and the contract's been canceled? That sounded sooo nice… I think I'll travel. It's one thing to move around because you have to. It's another to move around because you want to.  
  
And then? Who knows?  
  
Quinn motions "excuse us," and takes Clark by the hand. Has the incorrigible flirt returned?   
  
The duo walks, distancing itself from the group.  
  
QUINN  
What you did –  
  
CLARK  
- I didn't "do" anything.  
  
QUINN  
Sometimes, all you need to "do" is be there. You were. There.  
  
Thanks – for everything.  
  
CLARK  
Thanks.  
  
Though Clark's flattered by the attention, he's more appreciative of the life lesson Quinn's taught him, that sometimes, it's ok to let people take care of things themselves and help them as necessary. Still, there is something incredibly… compelling about this young woman he's come to know as Quinn.  
  
CLARK  
(recovering)  
For the waffles. I never would've pegged you as the domestic type.  
  
QUINN  
Clark Kent, you don't know me. I am full of surprises.  
(beat)  
You do know if you ever need anything, I got you. A'ight?  
(turns to Martha and Jonathan)  
Mr. and Mrs. Kent, thank you for raising him right.   
(turns to Clark)  
He's special. But you know that.  
  
The question is: what does Quinn know? Whatever it is – if anything – she ain't letting on.  
  
Quinn steps closer, confirming our suspicions of the return of the flirt. She takes Clark by the hand and uses her free hand to runs a finger gently and briefly along the top, tracing veins... As he leans in to watch (what's she up to anyway?) -  
  
- Quinn makes her move, kissing Clark. It's not a peck on the cheek, but a quadruple lip endeavor. Short, sweet and oh so to the point.  
  
To his own surprise, Clark responds. How is that possible?  
  
QUINN  
(exits)  
I'll send you a postcard.  
  
Off the assorted reactions.  
  
FADE OUT


End file.
